Pedals & effects
Configuring the board
Fifteen effects you can add, remove, and bypass independently. Each knob runs 0–10; here's exactly what every one does.
The board (add / remove / bypass)
The Guitar Rig shows one compact tile per pedal that's on the board, followed by a + ADD tile. Tab or ←/→ to a tile to load it into the full-size editor below — the editor takes on the pedal's livery colour. Only enabled pedals are on the board at startup; everything else lives in the picker.
| Key | Action |
|---|---|
Enter / Space (on + ADD) |
Open the picker listing pedals not on the board |
| ↑ / ↓ | Navigate the picker |
| Enter (in picker) | Add the selected pedal and jump focus to it |
| Esc | Close the picker |
| D (on a pedal) | Remove it from the board |
| Space (on a pedal) | Bypass / un-bypass it without removing it |
All pedals
Pick a pedal to load it into the editor — exactly like tabbing to its tile in the app. Every knob runs 0–10.
An envelope follower drives a smooth gain ramp (no clicks) that silences hum and string noise between phrases. Runs first so it cleans the rawest signal.
A time-domain pitch shifter that transposes your note up or down by up to an octave. It sits right after the gate — a real whammy's spot, in front of everything — so the shifted note is what the compressor and drives then work on: octave-down for a fake-baritone heaviness, octave-up shrieks and dive-bombs feeding raw into the distortion. Two crossfaded grains sweep a delay line at the pitch ratio; a little warble is inherent to the method and part of the whammy character.
A resonant bandpass whose peak is swept by an envelope follower — the filter "opens" as you dig in and closes as the note decays. A real wah is treadle-swept, but a terminal has no expression pedal, so your picking dynamics drive it: with Sens at 0 it's a static "cocked wah" parked at the Freq position; turn Sens up and it's a dynamic, vocal auto-wah. Sits early — after the whammy, before the compressor and the drives — so it rides raw pick dynamics (a compressor ahead of it would flatten the envelope it sweeps on) and the vocal quack is what the distortion then saturates, the classic wah-into-fuzz voice. Built on a TPT state-variable filter so the peak can sweep continuously with no per-sample coefficient-rebuild cost.
Sits right after the gate, before the drive stages, so it evens out picking dynamics and adds sustain going into the amp — the classic “studio” upgrade for clean and edge-of-breakup tones. A peak-follower detector drives a hard-knee gain computer; auto makeup keeps the level steady as you add compression.
Big-Muff-style fuzz that runs first in the drive chain so it sees the rawest pickup signal. Two cascaded clipping stages give the long, singing sustain and near-square saturation of a vintage fuzz — much heavier than the TS or DS-1. The voice is mid-scooped at 700 Hz for the classic “wall of sound” timbre.
The legendary mid-hump boost — asymmetric diode clipping that tightens the low end and pushes an amp into focused saturation. Great as a clean boost into an already-driven amp.
More aggressive than the TS, with a cubic clip stage and a seesaw “tilt” tone control that trades bass for treble around 1 kHz.
The Boss ML-2 Metal Core — an ultra-high-gain distortion built to make any amp sound metal on its own. Far more gain than the DS-1, from two cascaded clipping stages that saturate then square off into a long, compressed, singing sustain. A fixed mid-scoop gives it that aggressive metal voice, and a powerful active two-band EQ (Low/High, ±15 dB) reshapes the whole tone. Runs last in the drive chain, after the DS-1, so it's the most aggressive stage feeding the pre-amp EQ. Tightened on both sides of the clipper and 8× oversampled so the brutal gain stays articulate, not fizzy.
Sits before the amp, so it shapes the signal that the gain stage actually clips — a different job from the post-cab Parametric EQ, which colours the final mix. Scoop the mids going in for a tighter chug, or push them for lead sustain. All three bands map 0–10 to −12 dB → 0 dB → +12 dB; centre (5.0) is flat.
Post-cabinet — shapes the final stereo tone after distortion. All three bands map 0–10 to −15 dB → 0 dB → +15 dB; centre (5.0) is unity gain.
A short LFO-swept delay mixed back with the dry signal — the moving comb-filter notches give the classic metallic “jet plane” sweep. Sits after the cab and parametric EQ, before the delay, so it modulates the finished tone ahead of the ambience. The two channels read one LFO a quarter-cycle apart, so the sweep drifts across the stereo field.
A long LFO-swept delay (~8–20 ms) mixed back with the dry signal — much longer than the flanger's sub-millisecond tap and with no feedback, so instead of a metallic comb sweep you get lush pitch-shimmer: several slightly detuned, slightly delayed copies of the note. Sits after the flanger, before the delay, modulating the finished tone ahead of the ambience. The two channels read one LFO half a cycle apart, so the shimmer drifts across the stereo field and widens the image.
The third sibling to the flanger and chorus — but where those sweep a delay line, the phaser sweeps a cascade of four all-pass filters and sums the result with the dry signal. The all-pass chain is flat on its own; the notches only appear in the dry+wet sum, gliding up and down the spectrum for that hollow, vocal "whoosh" (Phase 90 / Small Stone territory). Sits after the chorus, before the delay, in stereo — the two channels read one LFO a quarter-cycle apart so the sweep drifts across the image.
Stereo ping-pong: feedback cross-feeds the two channels so repeats bounce left ↔ right.
Two decorrelated Freeverb cores (the right channel's delay lines are offset) produce a wide, deep stereo tail.